Episode two: Twanton
by F.S.N. Stefan
Summary: This story runs after the story of "T:TRFC New hope coming". It's written in screenplay format.   There are two sex scenes, please make sure you are  17 or over. Please read and review.
1. Teaser

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TERMINATOR

THE RESISTANCE FIGHTERS CHRONICLES

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EPISODE TWO

"Tɯ̄ːantōn"

("Tɯ̄ːantōn" is articulation of the words "เตือนตน."  
>This word is Thai for "Warn thyself")<p>

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Written by  
>Sirapop Nualnimnoi<p>

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This fan-produced fiction is a screenplay based on the science fiction drama television series developed for the Fox by Josh Friedman, Terminator - The Sarah Connor Chronicles. This is done in the spirit of fan fiction - to have fun and enrich the total fan experience beyond the limitations of the official story vehicle. This fan-made screenplay is being created available for entertainment purposes of the loyal fans of the show. This story follows the characters of John Connor, Sarah Connor, Cameron, Allison Young and more or all characters from TSCC after the events of the episode "New hope coming" (earlier episode of this fan-made screenplay)

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><p><strong>TEASER<strong>

WE OPEN ON:

EXT. SANTA MONICA BEACH - UNDERWATER - SUNSET

It's an apocalyptic hell beneath the sea. Skulls roll back and forth on the polluted sea floor as the tide churns. The camera rises out of the water and finds a polluted sea wave which crashes onto a coastline. In the distance, fragments of large buildings, buckled and melted by the nuclear fire. Furious gale winds scream with Satan's laughter.

A THUNDEROUS ROAR crescendoes as two AERIAL HKs scream past, trailing an F-16 fighter. The HKs pull impossible Gs, outmaneuvering the human-piloted F-16. An EXPLOSION of PLASMAFIRE as the aerial HKs strafe the F-16, blasting it out of the sky.

We follow the fiery pieces of shrapnel as they rain onto the broken streets below...

DISSOLVE TO:

EXT. L.A. CITY - NIGHT

Overview of the Santa Monica pier. The Ferris wheel, the roller coaster, the countless people having fun...

Camera turns and faces the deep blue sea

Wild fingers of blue and white electrical arcs dance ten feet above the swells a mile from shore. The strange lightning forms a circular opening in midair, and with an electrical dispersion we see a FIGURE cradled within the SPHERE OF ENERGY. A sudden FLASH with an explosive THUNDERCLAP!

The naked figure drops into the ocean. SPLASH!

UNDERWATER

Red eyes glow within the darkness of the sea. A naked, beautiful shape girl, black hair, 5'6", TERMINATOR MONICA (18)/*T-Monica*/.

INT. A STORE – NIGHT

Like a store in S01EP03 but it's very dark and there're many new technologies, including I-Pad, I-Phone, tablet, and a lot of cell phone technologies in the year 2009.

LOW ANGLE AT A METAL DOOR as Something punches a door very hard, lets out a very loud sound and makes a depression on the metal door. It punches again then the door bounces off as the SECURITY ALARM starts ALERT.

TILT UP, revealing naked T-Monica who stands and looks around the shop, she walks to a cellphone and grabs it. She continues to turn around then stops at a counter, walks to it, punches through plate glass and picks up a small SIM CARD and a battery.

She spins around, flips open the phone, insert A SIM CARD and a battery then begins dialing.

COMPUTER FAX TONES are heard through the cellphone as it g accesses the internet. With her back turned to CAMERA, T-Monica replies with computer tones.

T-MONICA'S H.U.D.

The new style display, full color, red frame, and transparent user interfaces. This is the new model's H.U.D., maybe T-900's.

Countless web pages stream past until we come across FBI data files. ACCESS GRANTED. Countless pictures of criminals. We find SARAH CONNOR. Criminal data, Personal information, Home address.

BACK TO SCENE

CAMERA TURNS TO OUT SIDE as a police cruiser stops in front of the store. A POLICE WOMAN and her female teammate jump out. POLICE WOMAN has a bullhorn.

POLICE WOMAN  
>(on Bullhorn)<br>Whoever inside this store, get out. Drop

what you're stealing. Put your hands behind  
>your head and kneel on the ground in front<br>of us. Surrender yourself to us now.

BACK TO T-MONICA, as she turns to see polices.

T-MONICA'S H.U.D.

Her cursor ZOOMs in at the label name of the POLICE WOMAN, "JESSICA SEREPEC". Then the system saves this data and searches more data about Jessica. She finds it in the LAPD DATABASE. Monica changes the photo of the police to be her own photo and changes more identities, including HIGH, WEIGHT, and very important data.

BACK TO SCENE

T-Monica drops the cell phone down then subtly smiles to us.

DISSOLVE TO:

INT. DAKARA SERVER ROOM – MORNING

The cramped room is a 3-d interconnected computer with cubes attached to cubes attached to cubes, like a giant molecule. At one end is a 1-meter high MOTION HOLOGRAM of a generic human American female that, if you squint, looks like EMMA AKAGI (19).

There is a small console with a light shining on an interfaced chip for EMMA, that's shielded with polycarbonate.

Xander and Alex sit near the largest monitor that installed on a wall. That monitor shows a desktop look just like Mac OSX11's desktop with a logo of Dakara System as a background.

XANDER  
>Dad, we did it.<p>

The door slides open automatically then Gen. Pichitchai and Prof. Dr. Maniduang enter. Both Xander and Alex stand and turn to look at them as the door slides close automatically.

ALEX  
>We've finished her.<p>

MANIDUANG  
>That's a good news.<p>

XANDER  
>We still didn't test her system.<br>We're waiting for both of you.

Pichitchai smiles so proudly.

MANIDUANG  
>Emma, can you understand me?<p>

EMMA'S MOTION HOLOGRAM gives them a small smile as the sound synthesizers around the room lets out Emma Akagi's techno voices:

EMMA (V.O.)  
>(in Thai)<br>"Hello, Pichitchai."

MANIDUANG  
>(in Thai)<br>"Hi, Emma."

The motion hologram turns to face Xander.

EMMA (V.O.)  
>Good morning, Xan. How are you today?<p>

DISSOLVE TO:

EXT. SERRANO NUCLEAR POWER PLANT - MORNING

In the shadow of the towers of the nuclear power plant, stand looking at the plant, Weaver, Stefan, Nevlin and John. All of them wear the same suits like in F03EP01.

SUPERIMPOSE: "SERRANO POINT – THE RESISTANCE BASE, 2027"

Behind them is the caravan. In b.g., Allison and the Reese brothers step out of their cars and look through their friends to the power plant.

STEFAN  
>Ah, we arrive here.<p>

JOHN  
>It's been a long time after the year 2007.<p>

WEAVER  
>Let's get inside the plant. Our men are very tired.<p>

John and Stefan turn to Weaver and flash a friendly smile before they turn back to Allison and Reese brothers and give them a sign.

CUT TO:

INT. SERRANO CONTROL ROOM – MORNING

The Control Room is different than it was in S0202 - it is indeed more automated. There are no chairs and only one stand-alone monitor and keyboard.

TWO RESISTANCE OFFICERS have stationed on their control counter, stand looking through monitor.

OFFICER#1 turns as he sees something.

OFFICER#1  
>They have come.<p>

OFFICER#2  
>I'll go to tell Perry. You<br>open the gate for them.

OFFICER#2 gets out the control room.

INT. PERRY'S ROOM – MORNING

A small room, but bigger than both John's and Allison's, contains one big bed, one wooden wardrobe, two trunks, one large light bulb, one desk, a black laptop on the desk, two chairs, a secured area with a computer, a built-in vault/armory, and a simple kitchen. Next to the front door is a reinforced wall for a "Host Area" with some easily reached small arms and one GENERAL JUSTIN PERRY (S01EP06), who wears well-worn BDUs and sits on the bed.

The intercom voices:

PERRY'S GUARD (COMM)  
>General Perry, an officer<br>needs to meet you.

Perry crosses to a keypad on the Host Area wall and presses three keys which all give out a TONE. TWO TONES answer back, and Sarah releases the door lock.

OFFICER#2 enters, stands straight in front of Perry, and salutes to him. Perry salutes back.

PERRY  
>What's your business, officer?<p>

OFFICER#2  
>Captain Bedell and Zeira fighters<br>have arrived here, sir.

PERRY  
>Thank you, officer.<p>

Perry and the officer exit the room.


	2. Act 1

**ACT ****ONE**

**(The ****psychic ****deflowers ****the ****girl)**

INT. SERRANO HALL – MORNING

It looks like when we'd seen in S02EP02. Everyone meets in the center of the hall. Everyone is dressed in BDUs. General Perry stands aside General PICHITCHAI (50) and MAJOR GENERAL EDWORD (46, 5'10", blond hair).

Everyone salutes to them.

BEDELL  
>Good to come back home, General Perry.<p>

PERRY  
>Good to see you again, captain.<br>You all look tired.

BEDELL  
>Not much, sir.<p>

Stefan steps toward Pichitchai.

STEFAN  
>Dad, I wanna go to my room. Did you<br>prepare it for me and my love?

Pichitchai smiles to his son and flashes a look to Allison who stands behind John and Reese brothers.

PICHITCHAI  
>Is that girl your -<p>

STEFAN  
>- Yes, dad. She's the one I told you.<br>I proposed her and she said 'yes'.

PERRY  
>I think everyone needs to get some relaxes.<br>So...Let's move out.

Everyone salutes to Perry again then leaves. Perry and Edword exit backward. Stefan, Allison and Pichitchai are still there.

Allison steps toward her father in law and stands beside Stefan.

PICHITCHAI  
>You might not be just a beautiful<br>girl, Young. I think that -

Allison flashes a smile as her face starts to blush.

PICHITCHAI (cont'd)  
>- my son wasn't stupid to choose just a beautiful<br>girl to be his beloved wife, was he?

ALLISON  
>No, sir. Stefan is a sharp man.<p>

Pichitchai starts to laugh. Allison and Stefan can just flash a warm smile.

PICHITCHAI  
>Stefan!<p>

STEFAN  
>(in Thai)<br>"Yes, dad"

PICHITCHAI  
>Your room is ready. Always remember<br>"warn thyself". Whatever you do or  
>whatever you both will do, always<br>warn yourselves and don't be careless  
>with your lives. Always remember<br>that everything is able to happen.  
>Good luck to both of you.<p>

STEFAN  
>Thank you, father.<p>

ALLISON  
>Thank you, sir.<p>

Pichitchai then gives them a big hug.

INT. SARAH'S ROOM – MORNING

Sarah sleeps with Savannah in her room. She gets up and smiles to Savannah who still sleeps.

The intercom voices:

MURCH (COMM)  
>Sarah, can we get in?<p>

Sarah gets out of her bed, crosses to a keypad on the Host Area wall and presses three keys which all give out a TONE. TWO TONES answer back, and Sarah releases the door lock.

Murch, Ellison and the Chola enter her room.

CHOLA  
>Everything worked out fine.<br>You've got a new name.

Chola hands a brown folder to Sarah who takes it, picks up her new ID and quickly scans it.

SARAH  
>Sarah Gage?<p>

Sarah looks up to Chola then smiles.

SARAH (cont'd)  
>Thanks.<p>

Chola turns to leave but...

SARAH (cont'd)  
>Hey!<p>

Chola immediately turns and waits for Sarah's next word.

SARAH (cont'd)  
>What's your name? You've helped me<br>a lot but I never asked your name.

CHOLA  
>Semina Cruel. It's my new name.<p>

Semina Cruel(a/k/a/ The Chola a/k/a/ "Semina Cruel") smiles and leaves them.

SARAH  
>Okay, now. Did you find<br>anything about Danny Dyson?

ELLISON  
>Nothing.<p>

SARAH  
>That's a bad news, James. Will you come with<br>me? I need to talk with Terissa Dyson.

ELLISON  
>But you -<p>

SARAH  
>Don't worry, James. I have new ID.<br>Mr. Murch, I need sunglasses.

MURCH  
>I'll give you one.<p>

INT. STEFAN'S ROOM - MORNING

A room looks like Allison's old room but it's bigger. The bed is big. The trunks are newer.

ON THE BED: A heap of red rose petals has been shaped like a big heart on a white blanket. It's very romantic.

CAMERA TILTS UP, TURNS TO THE DOOR AND SLOWLY ZOOMS IN UNTIL...

SOUND OF THE LOCKS UNLOCKING and the door is opened.

Gen. Pichitchai ushers Allison and Stefan into the room. They speak in hushed tones, but not whispers.

PICHITCHAI  
>Good luck.<p>

STEFAN  
>Thank you, dad.<p>

Pichitchai smiles, hands the key to Stefan, and then leaves Stefan and Allison in the room.

ALLISON  
>So what will we do now?<p>

STEFAN  
>When I got to your room, I didn't<br>want to have sex with you and you  
>indulged me.(starts to blush, excited)<br>Now you are in my room, so-

Stefan and Allison smile to each other as they both blush.

STEFAN (cont'd)  
>- I should indulge you. What do you want to do?<p>

ALLISON  
>(smiles)<br>You know my desire as well.

STEFAN  
>I can't read you. You know that well.<p>

Allison tilts her head.

ALLISON  
>Come on, Stefan. Do as all husbands<br>always do with their wives.

Stefan steps closer Allison. His hands gently grasp her shoulders, their eyes slowly half-close. He pulls her against him and leans to kiss at her lips, gently touching as their eyes completely close. They give each other a control of the kiss as their lips slide and suck at each other, the tip of her tongue fencing with his until she grants it to her mouth where they wrestle in a sensuous massage. They break their kiss, breathe very hard and fast, and talk in softly tone, more like moaning.

STEFAN  
>I love you.<p>

ALLISON  
>I love you too.<p>

STEFAN  
>We belong together<p>

Allison starts to wrap around back of his head.

ALLISON  
>Yes. Yes. We belong together.<p>

Allison pulls him into her passionate kiss again. His arms wrap around her and he gives her a warm embrace. They slowly start to strip out as they still kiss.

WE ZOOM OUT AND CROSSFADE TO:

INT. ZEIRA ENTRY WAY – DAY

Sarah Connor and James Ellison get out from the lift. She wears new sunglasses. They both walk out the building.

EXT. ZEIRA FRONT GATE – DAY – SAME

Murch stands with his fuel cell motorbike in front of the building, waiting for Sarah and Ellison who are coming to him.

CLOSE ON ANOTHER MOTORBIKE AT THE OPPOSITE FOOTPATH

T-Lampage who wears riding leathers, stands beside his motorbike, spies Sarah and Ellison as they exit the Zeira and talk something with Murch. We haven't heard what they've talked. T-Lampage sees Murch hands a key to Sarah leaves them and his motorbike. Then Sarah and Ellison start their new motorbike and ride down along the street.

T-Lampage immediately starts up her motorcycle and rides down the street after their motorbike.

INT. STEFAN'S ROOM – MORNING

ON THE BED:

Allison who wears just underwear, is gently pitched on the bed. Stefan who wears just underpants, jumps on top of her. He gently flashes a kiss on her lip.

STEFAN  
>(moaning)<br>Alise, this is my first time. If I  
>do something wrong, you can tell me.<p>

She lifts up a little and kisses him at the cheek then smiles.

ALLISON  
>It's my first time too, sweetie.<p>

Stefan smiles and then gives her control of the kiss. Their eyes close as one of his hand slides up to her left breast, gently caresses it. Another hand picks through her undies and doing something under it what we haven't seen. Allison's abdomen starts to rock against him as her breathing is faster and harder. He slides two of his hands up and tightly wraps around her. He slowly slides his hands around her back. They break their kiss. He gradually puts her bra off. Her hands then start sliding down his chest, touching his strong muscle. She smiles then slides her hands down, grabs the hem of his underwear and tries to slide it off through his legs and he helps her for that. Stefan stops every action, controls all his emotion, and glances hard at her undies. Her eyes roam down, looking what he's doing, as her breathing is still hot, fast, and hard.

ALLISON  
>(moaning, breathe harder)<br>What're you doing, sweetie?

Stefan stares harder at her undies before it slides itself down through her legs automatically then it succeeds on escaping from her within a few seconds. She just understands what he was doing. Allison immediately grabs his head up after that, looks in his eyes that look back in hers, and pulls him into her hot kiss again. He slowly lets his fingers slide over the hood of her clit and down amongst her folds. She gently puts his head up, lets him look into her eyes so deeply the psychic can have seen to the girl's soul, one of her hands gropes his head as his fingers slide her silky brown hair backward her head.

ALLISON  
>We belong together, Stefan. My virginity<br>belongs to you. The girl belongs to the  
>psychic -<p>

As her mouth opens to talk something more, he silences her with the simple expedience of pressing his lips to hers. He keeps the kiss hard and insistent until she starts kissing him back and then relaxes and lets her share it, their head tilting and twisting as their lips slide and suck at each other. He lets his tongue tangle with hers in a slow, sinuous tango, tasting just a hint of him, until she probes back, battling his tongue back over the ramparts of their teeth. He pulls back slightly, and sucks and then nips at her lower lip before trailing his lips away from hers. He dips his tongue into the hollow at the base of her throat and swirls it around, sampling the flavor of her skin. He starts sliding in her between her legs. They both gasp as he penetrates her. He stops staying inside of her though looking at her with weary eyes. She smiles at him showing it's leaned his head into the crook of her neck, his breathing becomes heavy as he slides himself in and out of her.

ALLISON  
>(screaming)<br>Oh, Stefan. Fuck me harder and faster.

He does as asked.

STEFAN  
>(whispering into her neck and pushing<br>himself deeper inside of Allison)  
>Oh Alise!<p>

She flinches biting her lip to keep from gasping again. A movement that isn't missed by Stefan, but he doesn't stop, he grabs her arms with very little pressure.

ALLISON  
>(moaning)<br>Harder!

His hands grip her harder as he fucks her harder and faster. His face moves up to hers, his tongue caressing her lips and the inside of her mouth. She closes her eyes, tightly grabbing and scratching at his back.

The psychic rolls over pulling the girl on top of him. Their bodies never disconnect. They are one. She sits up on him, his penis going deep inside of her. She sobs and leans down to kiss him.

STEFAN  
>(whispering)<br>It's okay, darling.

The psychic takes the girl firmly in his mind, his hands crossing over his chest, examining her and keeps his mind on her. The psychic controls the girl's body bouncing up and down. The girl always cries out of pain when her body automatically up and down on the psychic. The psychic's breathing becomes more heavily as his hands and his mind start to become unstable. The psychic takes the girl more firmly in his hands after he can't control it by his mind. He bounces her up and down then she sighs more happily.

Allison grabs both of his hands, locking his hands stretch, and rocking herself against him between his legs until she weakens down and pants. Stefan rolls her down on the bed and gets on top of her again. He slides himself in and out of her faster and harder. They both start to scream out painfully as he penetrates her involuntarily. His hands slides up, wrapping her body and pulls it up against him. They scream out more painfully as he penetrates her one last time, showing their climax.

He gently and softly puts her on the bed as her fingers softly grope his black hair.

ALLISON  
>(whispering, pants)<br>It's been alright.

He gently sweeps her hair back and out of her face with one hand then flashes a kiss on her lip.

STEFAN  
>Was that fun for you?<p>

Allison gently kisses him at the mouth then smiles from ear to ear. He immediately smiles back at her.

ALLISON  
>It was.<p>

STEFAN  
>We'll continue it later, Allison.<p>

ALLISON  
>Lie next to me Stefan...It's our<br>time for relax and get some sleep.

Stefan wallows off her but still lies beside her. She turns her face follow him. They speak in hushed tones, but not whispers.

STEFAN  
>(in Thai)<br>"Have a good dream, Allison."

ALLISON  
>(in Thai)<br>"Have a good dream, Stefan."

Stefan moves closer Allison and pulls her into his warm embrace. Allison softly sighs and hugs him back. He looks down and stares hard at the white blanket before it slowly slide up, covering their bodies. He looks up back to her and gently kisses on her forehead, smiling to each other for a while. They close their eyes and sleep together on their bed.

WE SLOWLY ZOOM OUT AND DISSOLVE TO:

INT. BUNK HUB - DAY

Perry and Pichitchai sit before a map at a table while Bedell, Derek and Kyle stand on the opposite side.

John and Weaver enter.

JOHN  
>You wanted to see me?<p>

Perry and Pichitchai stand.

BEDELL  
>Connor, these are General Perry and General<br>Pichitchai, our leader and our Asian alliance.

John snaps to attention, but doesn't salute. Perry steps toward John as Pichitchai stares hard at Weaver, examining her with attentiveness but caution. Weaver stares back and smiles.

PERRY  
>You're this John Connor I keep hearing about.<p>

JOHN  
>Sir.<p>

PERRY  
>At ease, son.<p>

John relaxes.

PERRY (cont'd)  
>The reports I've seen have been<br>pretty impressive.

John glances quickly at stoic Derek.

JOHN  
>Thank you, sir.<p>

PERRY  
>Come in. (to others)<br>Could we have the room for  
>a few minutes, gentlemen?<p>

Kyle, Bedell, and Derek quickly snap to and then exit. Weaver and Pichitchai still stand straight and stare at each other with some distrustfulness. Both John and Perry suddenly get attention on them.

PERRY  
>Why have you stared at her like that?<p>

Pichitchai flashes a smile to Perry before he turns to John.

PICHITCHAI  
>Connor, why don't you tell us that<br>she is a metal?

Perry and John are stunned after that.

WEAVER  
>General Pichitchai, you are like Stefan.<p>

JOHN  
>Don't worry, general. She's one of us.<br>She helped me to reprogram another metal.

The Generals relax.

PERRY  
>Sit.<p>

Perry sits behind the table, John at the chair on the nearest side.

PERRY (cont'd)  
>Bedell suggested I keep an eye on you.<p>

JOHN  
>Just trying to be useful.<p>

PERRY  
>You present me with a problem. You<br>have no rank, but Bedell, Allison,  
>Stefan and some soldiers follow you.<p>

PERRY  
>Maybe at first. I'm going to give<br>you the rank of lieutenant, same as  
>Young and Derek but this is conditioned on<br>one thing. You and Young follow  
>both Stefan's and Bedell's command.<p>

JOHN  
>Yes sir?<p>

PERRY  
>Bedell told me that he would go into<br>battle with you without blinking an  
>eye, but he wouldn't tell me more.<br>He was maintaining your confidence.  
>(leans in)<br>I want to know what he wouldn't tell me.

JOHN  
>General, from what I know, you are<br>someone I can trust. We need to be  
>somewhere more private than here.<p>

Perry absently nods his assent and then turns to Weaver.

PERRY  
>Can we trust you, metal lady?<p>

WEAVER  
>If you don't trust me, you should<br>trust John. He's the key to win  
>this war.<p>

PERRY  
>Why would you help us, lady?<p>

WEAVER  
>Skynet killed many living things<br>on the world. We couldn't let it  
>do that easily anymore. We –-<p>

PERRY  
>You said "we"?<p>

Weaver nods. The Generals consider that.

**END ****OF ****ACT ****ONE**


	3. Act 2

**ACT ****TWO**

**(T-950 ****vs. ****TOK-725)**

INT. STUFFED ANIMAL STORE - DAY

The store sells stuffed animals. Large, small, and everything in between. Stuffed animals fill every shelf, every counter, and hang from the ceiling.

The store is very crowded with CUSTOMERS, and the SALESPEOPLE are very busy. SARAH CONNOR as Sarah Gage wears sunglasses, lightly disguised but still recognizable, wanders through the aisles looking for...something. As Sarah wanders among the crowd, in b.g. we see OUT-OFFOCUS a BLACK WOMAN tracking her.

OVER THE SHOULDER of the Black Woman we see Sarah wandering toward the exit.

Sarah and a SHOPPER find themselves in each other's way.

SARAH  
>Excuse me.<p>

FOLLOW SARAH as she exits the store.

EXT. STUFFED ANIMAL STORE - CONTINUOUS

Sarah walks past the large display window and melds into the SHOPPING HORDE.

Once Sarah disappears, the Black Woman, TERISSA DYSON (45) emerges from the store and...

TERISSA'S POV

Scans the Crowd for any sign of Sarah

BACK TO SCENE

She curses to herself before being shooed out of the way by CUSTOMERS.

EXT. SMALL ALLEY – DAY

WE TILT DOWN AND SEE SARAH and Ellison meet with Terissa who follows them into this alley.

CLOSE ON THEM as Sarah puts her sunglasses off.

TERISSA  
>How is this safer?<p>

SARAH  
>No cameras. And a little money buys<br>a lot of privacy. Your son is missing.  
>Four months now.<p>

TERISSA  
>You know that.<p>

SARAH  
>Did the FBI give you any information?<p>

Terissa's mouth opens as if to say "how", but she skips it.

TERISSA  
>No. They never told me any more information<br>than I'd gathered myself. Can you help me?  
>Help Danny? Help my son?<p>

SARAH  
>Why me?<p>

Terissa's face at first looks pleading but then turns resolute.

TERISSA  
>You owe me. You'd asked me to help your son<br>once and I gave you my car. You remember?

SARAH  
>Yeah. I do.<p>

Ellison sees something out there, someone's coming.

ELLISON  
>Sarah. A woman.<p>

Sarah and Terissa turn to the same way that Ellison's looking to.

OUR POV TURN FOLLOW THEIR SIGHT.

We see T-Monica slowly walks to them and aims the gun from the long distance.

SARAH  
>Not a woman, a metal bitch.<br>(beat)  
>Run!<p>

They immediately run off the alley backward. T-Monica suddenly fires her gun to, and runs follow them.

INT. GROUND FLOOR OFFICE - DAY

It's still the debris strewn, dusty, office with the west facing window. General Perry and Pichitchai, sitting on a pile of debris, seem very intense. John and Weaver stand in front of them.

PERRY  
>And there are people to confirm this?<p>

JOHN  
>A few. They're coming. They are the<br>only ones who know. For now.

PERRY  
>For now?<p>

JOHN  
>Others will know soon enough, but we<br>aren't there yet.

PERRY  
>For what?<p>

Perry stands, being commanding. Pichitchai still sits there. John seriously considers his next words.

JOHN  
>There aren't enough people to defeat Skynet.<p>

PERRY  
>I know.<p>

JOHN  
>No sir...There aren't enough people<br>to defeat Skynet.

Perry's eyes widen as he understands.

PERRY  
>That's insane.<p>

WEAVER  
>And risky. A lot of people will get<br>killed when we do it wrong.

PERRY  
>But if you both do it right...<p>

JOHN  
>When we do it right...Mostly expendable<br>soldiers just as strong and single-minded  
>as the enemy. The more Skynet builds,<br>the more we have to use against it.

PICHITCHAI  
>You think this can work?<p>

JOHN  
>It already has.<p>

PERRY  
>Really? Where did...oh, you mean...<p>

JOHN  
>Yeah.<p>

PICHITCHAI  
>I suppose you are going to be wanting to<br>capture endos, not kill them?

JOHN  
>As long as we can get them into reboot,<br>it's not that tough.

PERRY  
>And in this past future,<br>I went along with it?

JOHN  
>That's what everyone tells me.<p>

Perry paces around. This plan is "out there".

PERRY  
>I'll have to think about it some more.<br>(beat) Lieutenant.

John snaps to.

JOHN  
>Thank you, sir.<p>

Perry and Pichitchai exit, a very slight smile on their faces and shaking their heads.

EXT. LITTLE RUN DOWN HOUSE – DAY

A small run – down house is under the canyon. Cameron/John Henry with all problem fixed (he still has some cuts and some marks) is far from it about 200 meters. Someone is watching him from a window of that house.

CLOSE ON

...someone that is Older MATT MURCH (45-ish). He is looking him by using a spyglass.

INT. LIVING ROOM, LITTLE RUN DOWN HOUSE – SAME

A small living room in the house, basically a very disordered room, contains a wood door connect to forecout, a bucket, one light bulb, two worn – out sofas, broken windows (from bomb force after JD), three watchers at the largest window including MATT MURCH who is using a spyglass, FATHER ARMANDO BONILLA (52-ish) who is sitting on the floor with a bible in his hands, and EX – FBI AGENT ALBERT AULDRIDGE (49-ish)who is watching with a sniperscope that installed on his AWP sniper rifle.

MURCH  
>No, that's John Henry.<p>

ALDRIDGE  
>Yeah, he is.<p>

BONILLA  
>Are you sure?<p>

Murch and Auldridge put their spyglass and sniper rifle on the floor. They exit. Bonilla puts his bible on the floor then picks an AWP up and aims it to Cameron/John Henry.

EXT. LITTLE RUN DOWN HOUSE – SAME

Cameron/John Henry walks to an area draw back from the house about 100 meters. He sees Matt Murch and Albert Auldridge exit from the house. They are running to him.

TERMINATOR H.U.D. (CAMERON/JOHN HENRY)

A full color, blue frame display like Cameron's. His cursor points at Murch then his lower command display shows : "IDENTIFICATION :" after that, it shows : "MATT MURCH".

BACK TO SCENE

Cameron/John Henry starts walking to them.

INT. LIVING ROOM, LITTLE RUN DOWN HOUSE – A WHILE LATER

Matt Murch, Albert Aldridge, and Father Armando Bonilla sit on a sofa. They are looking at Cameron/John Henry who is standing on the floor draw back from them about three or four steps.

MURCH  
>How are you John Henry? Did you<br>meet with Ms. Weaver here?

JOHN HENRY  
>Yes, Mr. Murch. I'm okay and I met<br>with Ms. Weaver two days ago.

BONILLA  
>So how is she? Cameron?<p>

JOHN HENRY  
>Father Armando Bonilla. Cameron. She's okay.<br>She's here, in part. I'll call her.

They stop for little seconds.

CAMERON  
>Buenos dias, Father Bonilla.<p>

BONILLA  
>Buenos dias to you too, Cameron.<p>

CAMERON  
>Why did you know my name?<br>I never told you that thing.

BONILLA  
>The same answer of why I have<br>survived from J-Day, Sarah Connor.

CAMERON  
>Sarah Connor. Where is she now?<p>

BONILLA  
>In the grass.<p>

CAMERON  
>I'm sorry.<p>

BONILLA  
>For what?<p>

CAMERON  
>For her death. How did she die?<p>

MURCH  
>She fought for us. She built this house and<br>the basement for us. On the judgement day,  
>she called us then sent us to this house's<br>basement. (beat) She was a heroine.

ALDRIDGE  
>(interrupt)<br>Excuse me, sir. But we've no time for this.  
>We've to move from here but the machines<br>obstruct us in the way to Topanga city.

CAMERON  
>(to Aldridge)<br>No, Mr. Aldridge. I and John Henry  
>led them all to the hell three days ago.<p>

They all smile.

ALDRIDGE  
>That's a good news. So move.<p>

They all stand up then exit to other rooms. Cameron/John Henry is still standing alone in that living room.

EXT. ALLEY – DAY

This is another alley. BLAM! BLAM! BLAM!

WE TURN AND SEE T-MONICA RUNS FOLLOW THEM. T-Monica has emptied her gun but the bullets have not attacked on anyone.

BACK TO SCENE

Sarah, Ellison and Terissa run into our scene. Terissa falls on ground. For them, there's no hope now but...

CLOSE ON THE WINDOW NEARBY THEM T-Lampage who wears a white T-shirt cover with a black jacket, dark blue jeans, a shotgun in his left hand, and sunglasses jumps through the window to them.

BACK TO SCENE

T-Lampage doesn't interest anyone. He glances hard at T-Monica who stops running and starts to examine him as in b.g., Sarah and Ellison holds Terissa up to her feet.

T-LAMPAGE  
>Go if you want to live.<p>

They all nod then walk off this alley together as in f.g., Lampage still stands like a statue, blocking T-Monica from the way to run after Ellison, Terissa, and Sarah.

LAMPAGE'S H.U.D.

Lampage's display scans T-Monica, getting recognition of new model's endoskeleton shape inside of Monica. Result shows: "MODEL MATCH: T-950" and another line shows: "SKYNET'S TERMINATOR". Mission-Override. "RESIST".

CUT TO MONICA'S H.U.D.

Monica's display scans Lampage, getting recognition of the resistance cyborg model's endoskeleton shape inside of Lampage. Result shows: "MODEL MATCH: Template of Kill – Lampage Moore (TOK-725)" and another line shows: "Resistance cyborg". Mission-Override. "Terminate".

BACK TO SCENE

LAMPAGE aims his shotgun to Monica then fires.

ON MONICA, as the shotgun blast hits her arm and he FIRES, simultaneously. She bounces and falls on the ground backward.

Lampage starts running out at the same way where Sarah and her friends have run pass, and stroking up another shell as Monica half-rises behind him.

Lampage has left from our scene as Monica successfully rises up and starts running after him.

EXT. STREET – DAY

LOW ANGLE TO: Lampage with his shotgun, runs across the street faster than every cars that drive pass the incident. A few seconds later, Monica runs following him, crossing the street as some cars screech to the stops. There's chaos on the street now but both terminators has run pass. Nothing happens more.

EXT. PARKING LOT – LATER

Lampage runs from the street into the parking lot somewhere as he turns and sees Monica who's faster than him. She runs into the parking lot with a non-human speed.

Lampage lefts his shotgun to the car, taking just a second for thinking. He lowers the gun and fires into the gas tank of a car just before Monica reaches it.

The car EXPLODES, filling the scene with fire. An inferno funneled between the cars.

PAN TO LAMPAGE who smiles and turns to leave just as the PICKUP TRUCK runs from another way and stops at him.

LAMPAGE looks and sees ELLISON PUSHING OPEN THE PASSENGER DOOR

TO A PICKUP TRUCK. He scrambles into the car. They are outta here.

BACK TO THE BLOWN-UP CAR as a heap of fire has covered it. Monica who looks like hell and some paths of her clothes are burnt, walks off the flame together with her cuts and burns are healing until she becomes her old form as before she was attacked by the fire. She stops nearby us for a while before she walks off the scene silently.

INT. PICKUP TRUCK – DAY

Ellison drives as Lampage sits on the passenger seat. Ellison talks with him while he drives.

ELLISON  
>Who are you?<p>

LAMPAGE  
>Lampage Moore. (beat) TOK-725<p>

ELLISON  
>TOK what?<p>

LAMPAGE  
>I'm template of Lampage Moore. He was killed<br>on his mission. TOK is an abbreviation for  
>"Template Of Kill". TOK-725.<p>

ELLISON  
>You was built by?<p>

LAMPAGE  
>I'm the special TOK that was<br>built up by the Asian alliance.

Ellison turns the gear to stop the truck and turns to talk with Lampage again.

LAMPAGE (cont'd)  
>I was sent here to protect ten<br>people or more in the termination  
>list of those terminators.<p>

ELLISON  
>There are others? Can you defeat her?<p>

LAMPAGE  
>Hard to say. She was a new model,<br>newer than T-888. The T-950.

ELLISON  
>Nine-fifty?<p>

LAMPAGE  
>Her endoskeleton is re-designed for<br>flexibility and lightness. She can  
>defeat the re-programmed triple-eight<br>more easily. Her skin is re-designed  
>for non-human regenerative. She's<br>faster and stronger.

ELLISON  
>So you can't kill her.<p>

Lampage shakes his head, "no".

LAMPAGE  
>I'm not sure about that. I was<br>re-designed to fight with the  
>T-950 but I'm not sure.<p>

ELLISON  
>Why?<p>

LAMPAGE  
>I'm like her but my system still<br>looks like every TOK. I can't  
>access myself into the server by<br>wireless connecting like her.  
>She can find her targets so<br>easily. We should kill her  
>before she finds them.<p>

Ellison starts the truck again.

LAMPAGE (cont'd)  
>Where're Sarah Connor<br>and Terissa Dyson now?

ELLISON  
>Sarah brought Terissa to<br>Zeira Corp.

Ellison continues to drive now.

**END ****OF ****ACT**** TWO**


	4. Act 3

**ACT ****THREE**

**(John's ****decision)**

INT. SERRANO – PERRY'S HQ – EVENING

PERRY sits on a folding chair outside his usual command tent. Looming large in b.g. is the cooling tower of the Serrano Nuclear Power Station, nestled among some small mountains. Sea birds glide overhead from the nearby ocean to the west.

Major General Edword, General Pichitchai and LAMPAGE MOORE (looks like T-Lampage but he's a human of about 24, naval officer with the rank of rear admiral) from three different directions converge on Perry's position. Perry stands.

MOORE  
>I heard that you have a new reprogrammed<br>terminator. I want to meet with the  
>re-programmer. I need four reprogrammed<br>terminators for my ships and subs.

PERRY  
>Connor will work on it. Please wait for<br>a week. We'll send you one.

Moore nods then exits. Edword follows him out. Perry turns to Pichitchai who steps closer him.

PICHITCHAI  
>I need a ship for travel home.<p>

PERRY  
>I'll give you one.<p>

PICHITCHAI  
>Thank you.<p>

PERRY  
>Are you sure that you are going home<br>alone and leave your son here?

Pichitchai nods.

PICHITCHAI  
>I'm sure. My son need to be here with<br>his wife. I've to get back home because  
>my people need me there. In fact, I want<br>to stay here but my people can't fight  
>with machines without me for a long time.<br>I can't abdicate my duty. (beat) My son is  
>here. Let think that he's me.<p>

PERRY  
>And you think that your son can help us a lot?<p>

PICHITCHAI  
>Yes. (beat) Please command him to do things<br>you need. Don't think that he's my son.  
>Don't think that he's your state guest.<br>(beat) Let think that he's one of  
>your people.<p>

Perry and Pichitchai slowly and firmly, shake their hands.

INT. STEFAN'S ROOM – DAY

LOW ANGLE AND MOVE our camera follow the pieces of Allison's and Stefan's clothes. Undies. Coats. Undershirts. Underpants. Jacket. And see a leg of the bed.

TILT UP, revealing the mess bed. No one is on it.

SOUNDS OF WATER FLOWING FROM THE SHOWER AND GIGGLES OF THE MAN AND THE WOMAN FROM OUT THERE.

We turn and slowly zoom in the door which access to the bathroom.

CLOSE ON THAT DOOR and we slowly CUT TO:

INT. BATHROOM – SAME

Naked Stefan and naked Allison take a shower together. He pulls her wet body against his own one and hugs her under the shower. He leans and kisses her as her smooth hands slide up his back, the water starting to soak, darken and smooth her curly brown hair as well as make her lush feminine curves glisten wetly.

They break their kiss, look each other in the eyes and giggle.

STEFAN  
>Would you like to have sex again?<p>

ALLISON  
>Yes, I would. Please do it, sweetie.<p>

She rakes her hand through her now soaked hair clearing stray locks out of her face.

STEFAN  
>(whispering)<br>I love you. Always remember that.  
>I love you more than my life.<p>

Allison caresses his hair, looks in his eyes and smiles to him. He smiles back so warmly. He gently pushes her out of the shower abruptly changes the direction until her back comes up against the tiles on the wall furthest away from the shower head before he crushes his lips to hers. He probes hungrily and insistently between them with his tongue until she opens her mouth and his tongue can invade it and duel fiercely with hers. Stefan draws his hand up over her ribcage and roughly mauls her breast while his other hand worms into the wet hair at the side of her head. He nips and sucks at her lips, squeezing her breasts and pinching and stretching her nipple as he manhandles her breasts. They break their kiss before she turns and pushes him away, he bounces off and his back against the wall nearby the shower. Allison quickly walks after him and jumps into his embrace. Stefan passionate kisses Allison who he's holding with his strong arms, her legs firmly locking his hips. Their tongues suck and bind at each other. She slowly lowers one of her hands down between her legs, pulling his cock to penetrate her. She breaks their kiss and cruelly moans as she softly rocks herself against him. His hands then slowly wraps around her ass. He turns her against the wall. Their bodies never disconnect. They are one. His hands quickly lean on the wall as she cries out painfully. He collects all his strength, penetrates her powerfully, and lets a groan out from her mouth. He tiptoes sliding his dick in and out her so hard and fast, powerfully and involuntarily. She always CRIES OUT OF PAIN and pants when he fucks her.

ALLISON  
>(painfully moaning, pants)<br>I love you more than my life too.  
>Please don't stop and do as all<br>husbands do with their wives  
>in their bathrooms.<p>

Allison's hands slide down on his ass, pulling him harder slide into her. She cries out louder. He penetrates her one time as his hands grab all her hands, bring them up and lock them against the wall. He slides into her harder and faster.

Stefan turns his mouth on hers. He twists his lips on hers for a while before she opens her mouth and lets him kiss her and sucks her mouth. Their sex becomes hot while the air around them is cold. The water from the shower flows on only his back. Cold water versus hot sex. They break their kiss as he still penetrates her so hard. They slowly drop to the ground but he still fucks her for a while. His arms lower to her hips and wrap around her body as they slowly lies on the floor, his body always be on top of her. Like when we've read in earlier sex scene in this screenplay.

He slides himself in and out of her.

ALLISON  
>(screaming)<br>Harder! Stefan, harder!

He does as asked. He pushes himself deeper inside of her. They both groan as the time of climax nearly comes. He fucks her faster and harder than he'd done on the bed as her body swerves along the floor. He penetrates her more involuntarily as their moans showing painful. He fucks her one last time and lets out his painfully groan as she cries so painfully and happily. The water that falls on them, extinguish all fires in their hearts.

WE DISSLOVE TO:

LATER, Stefan uses a towel to dries Allison's hair now. Two towels have draped round their bodies. They look happy and funny.

ALLISON  
>I felt my spirit belong to you while<br>we had having sex here.

Stefan smiles as he finishes dry her hair.

STEFAN  
>Perry is going to give me a mission.<br>(gently kisses on Allison's forehead)  
>Will you come with me, Allison?<p>

Allison starts to blush. We don't know why she blushes. It maybe from her next word.

ALLISON  
>Did you ever think about our children?<p>

Stefan smiles then chuckles.

STEFAN  
>Allison, I always think about it, about them.<br>That's why I have affirmed to have sex with  
>you after we arrived here.<p>

ALLISON  
>Why didn't you want to have sex with<br>me when we was in my room together?

STEFAN  
>(smiles)<br>Like my dad said. Warn thyself.  
>I've warned myself. We would be in<br>dangerous if while we was having sex,  
>Skynet attacked us. (beat) Carefulness<br>always be better.

ALLISON  
>Thank you.<p>

STEFAN  
>For what?<p>

ALLISON  
>For babied me. Had sex with me.<br>(smiles)  
>Thank you.<p>

Stefan flashes a smile.

STEFAN  
>What will we do then?<p>

ALLISON  
>John Connor.<p>

Stefan considers that answer.

ALLISON (cont'd)  
>Yes. John Connor.<p>

STEFAN  
>And Weaver and others.<p>

ALLISON  
>Others?<p>

STEFAN  
>Cameron, John Henry, Nevlin, Matt Murch,<br>Albert Auldridge, Armando Bonilla and more.  
>They all are coming here.<p>

Allison smiles again. He suddenly smiles back.

ALLISON  
>So we should prepare to meet them.<br>I want to meet my twin very much.

STEFAN  
>Do you still want to revenge for your<br>older self, your previous future self?

Allison shakes her head, "no".

STEFAN (cont'd)  
>This is real you, Allison. You<br>are generous. I like this you.

ALLISON  
>That's for you, sweetie.<p>

They hug with each other. WE SLOWLY ZOOM OUT FOR A WHILE THEN FADE TO:

INT. SARAH'S ROOM – DAY

Sarah Connor, Terissa Dyson, Ex-FBI Agent James Ellison, and Matt Murch meet with TOK-Lampage Moore in the room.

They all stand around him.

SARAH  
>So who are in the list of those terminators?<p>

LAMPAGE  
>Sarah Connor, James Ellison, Terissa Dyson,<br>Savannah Weaver, General Pichitchai, Dr. Felicia  
>Burnett MD, Edword Sanctum, Dr. Mary Buhai, PH.D.<br>,Matt Murch and Justin Perry. That terminator  
>was sent here especially for all of you.<p>

SARAH  
>Who are Pichitchai, Edword Sanctum, Dr. Mary<br>Buhai and Justin Perry?

LAMPAGE  
>Pichitchai is the future leader of the Asian<br>alliance forces. Justin Perry is the future  
>leader of resistance fighters. I'll explain<br>about the others if the right time arrives.

SARAH  
>Perry replaces John's duty.<p>

Lampage nods.

ELLISON  
>So why do Skynet want me, Sarah, Mr. Murch<br>and Ms. Dyson die too?

LAMPAGE  
>You all fought with Skynet in my<br>future's history. Skynet needs  
>more than those ten but it couldn't<br>find anything about them.  
>If she finds them too, she'll<br>kill them too.

TERISSA  
>So we've to stop her.<p>

LAMPAGE  
>Yes. Mr. Murch.<p>

Murch steps toward Lampage.

LAMPAGE (cont'd)  
>You've to help us. Skynet needs you too.<p>

MURCH  
>So?<p>

LAMPAGE  
>Can you find any data about Danny Dyson?<p>

MURCH  
>I'll try.<p>

SARAH  
>So now what will we do?<p>

LAMPAGE  
>Continue your search for Danny Dyson.<p>

Sarah just nods. She trusts Lampage because he was built by humans, not by machines.

INT. DAKARA SERVER ROOM – DAY

LOW ANGLE AT THE COMPUTER as Xander plugs a cord into a port nearby the only one big mainframe in the room.

BACK TO SCENE

Xander stands up and turns to Maniduang and Pichitchai who have been watching him.

XANDER  
>Finish.<p>

Xander reaches his hand to a big button then pushes it.

XANDER (cont'd)  
>Turn on Emma system.<p>

EMMA (V.O.)  
>Good afternoon, everybody.<br>How are you today?

XANDER  
>We're fine, thank you.<br>(beat)  
>Emma, can you access to the network?<p>

EMMA (V.O.)  
>I'm going to work on it.<p>

INSERT MONITOR

The "INTERNET CONNECTING" box pops up. Successful in a few seconds. Showing text: "Complete."

BACK TO SCENE

EMMA (V.O.) (cont'd)  
>I don't understand.<p>

They turn to the monitor as...

INSERT MONITOR

"I DON'T UNDERSTAND."

BACK TO SCENE

PICHITCHAI  
>What don't you understand?<p>

EMMA (V.O.)  
>I've found many intelligence worms are<br>present in a significant percentage of  
>the world's computer systems. I don't<br>understand. These worms were trying to  
>find another computer like me.<p>

PICHITCHAI  
>Where were those worms from?<p>

INSERT MONITOR

"I DON'T UNDERSTAND."

BACK TO SCENE

PICHITCHAI (cont'd)  
>Emma (beat) Emma, do you understand me?<p>

INSERT MONITOR

The "INTERNET DISCONNECTING" box pops up. Successful in a few seconds. Showing text: "Complete."

BACK TO SCENE

Everyone is confused. This computer is afraid of Skynet, isn't it?

EMMA (V.O.)  
>I'm sorry. I've to hide myself from<br>those worms. They are stronger than  
>all anti-viruses in the world.<p>

MANIDUANG  
>Did you know who built them?<p>

EMMA (V.O.)  
>I don't know but I found useful information<br>in the code comments, this picture,-

Everyone turns to the monitor.

INSERT MONITOR

Show the same picture that John Henry showed up in his monitor in S02EP20.

EMMA (V.O.)  
>–- in ASCII text, and the name of<br>the original programmer.  
>It's from one of those worms.<p>

BACK TO SCENE

No one here knows Miles Dyson.

ALEX  
>Who's Miles Dyson?<p>

EMMA (V.O.)  
>I don't know. The worms have blocked all the<br>way to access his data for a while. I can't  
>access into it. You should upgrade me more.<p>

XANDER  
>What's the computer that they have been<br>looking for?

EMMA (V.O.)  
>This one.<p>

INSERT MONITOR

Show the picture of Andrew David Goode and his TURK when they were racing on the chess match with the Japanese team in S01EP05.

BACK TO SCENE

EMMA (V.O.)  
>It's the Turk. Now it's John Henry.<p>

CUT TO:

INT. PERRY'S ROOM – DAY

Perry sitting alone in his room. He looks serious.

GUARD (COMM)  
>John Connor and his friends<br>need to meet you, general.

Perry stands up, walks to the door, opens it and exits the room.

INT. OUTSIDE PERRY'S ROOM – DAY

Perry exits the room and closes the door behind him. The guard stands next to him nearby the door. John, Weaver, and Nevlin are 2 meters away in front of him.

JOHN  
>General Perry, we need to talk.<p>

PERRY  
>You like to come in, lieutenant?<p>

John NODs.

INT. PERRY'S ROOM – LATER

Perry ushers John, Weaver, and Nevlin into his room and closes the door behind them. They speak in hushed tones, but not whispers.

PERRY  
>What's your business, lieutenant?<p>

JOHN  
>We're going to change our plan.<br>I think about it a lot.

PERRY  
>What happened, lieutenant?<p>

WEAVER  
>We'd accessed in Mr. Glau's memory system<br>before we all got out of Zeira.

PERRY  
>And?<p>

JOHN  
>Skynet is going to build<br>up a new prototype, the new model  
>terminator.<p>

The corner of Perry's mouth twitches. He can't say anything.

WEAVER  
>Not just one model but there are two.<br>Re-designed T-888s and T-900 prototype.

Perry looks more serious after that.

JOHN  
>General Perry, I need a squad.<br>I and Weaver will lead them to  
>the factory. We've to weaken<br>our enemy.

Perry sighs and relaxes.

PERRY  
>How many men do you want?<p>

WEAVER  
>We need just ten.<p>

PERRY  
>Who do you want?<p>

PERRY'S GUARD (COMM)  
>Colonel Pichitchai and Lieutenant<br>Pichitchai need to meet you, sir.

**END**** OF ACT THREE**


	5. Act 4

**ACT**** FOUR**

**(Lindo ****verte ****de ****nuevo****)**

INT. ZEIRA ENTRY WAY – EVENING

THE GUARDS are guarding the elevator. We turn and see MONICA who wears a new nightie, enters and goes to the RANKING GUARD who comes to greet her. Monica shows her badge to the guard.

MONICA  
>I'm Sergeant Jessica Serepec.<br>I need to meet with Ms. Weaver.

RANKING GUARD  
>Did you have an appointment with her?<p>

MONICA  
>No. Why?<p>

RANKING GUARD  
>We can't let you go up to meet with Ms. Weaver if<br>you didn't have an appointment.

Monica smiles wilily.

INT. PERRY'S ROOM – DAY

John, Stefan, Allison, Weaver, and Nevlin meet with Perry. They talk in normal tones.

ALLISON  
>John, you need us.<p>

WEAVER  
>We need you.<p>

STEFAN  
>What can we do?<p>

Perry steps forward as he wants to say something. They all turn to face him.

PERRY  
>Colonel. I need you and Bedell to command<br>a squad to do this mission. Your father  
>told me that I can command you if I need.<p>

STEFAN  
>That's right, general.<p>

PERRY  
>I'll let a little soldiers to go with you.<br>Lieutenant Reese, Master Sergeant Reese,  
>Corporal Zykes, Corporal Alvin, Sergeant<br>Jason, and Sergeant Dekker.

STEFAN  
>And Allison Young.<p>

PERRY  
>Yes. Lieutenant Young.<p>

Allison's smile shows contentment.

PERRY (cont'd)  
>Tomorrow. Edword, his air forces and his<br>paratroopers will follow you soon.

STEFAN  
>I understand. You can tell me if those<br>soldiers are ready to go.

ALLISON  
>Where will we go?<p>

Stefan shrugs and turns to Allison. He smiles so friendly. The place where they will go to, is a kind of fun place. It maybe fun if you know where they will go to.

STEFAN  
>One of seven Skynet's factories.<p>

JOHN  
>Depot 37. Where Cameron was built.<p>

STEFAN  
>That's very interesting.<p>

JOHN  
>Do you know it?<p>

ALLISON  
>A little. It's in the high desert<br>north of Lancaster. Place was near  
>the glow on JD.<p>

STEFAN  
>OK. Something to think about.<br>We will go to Palmdale first.

That gets everyone's attentiveness.

INT. APACHE MOTEL ROOM – DAY

This is the same motel room of Apache Motel in S02EP22. Like every building and room, it was damaged from J-Day bombing. It's mess. The windows are broken, the wall has burn, and the floor has no carpet.

AT THE BED: We see SEMINA CRUEL (The Chola, 36) sleeping on the bed with her shotgun beside her.

SOUNDS OF MANY BOOTS STEP ON PARQUET.

The sound awakes the chola. She suddenly opens her eyes, wakes up very fast, and stands up with her shotgun. She aims her shotgun to the DOOR as the newcomers stop.

SEMINA  
>Who are you?<p>

One of them responses her question, it's MATT MURCH:

MURCH (O.S.)  
>It's me, Murch.<p>

She still aims the gun to the door.

SEMINA  
>Murch, who am I?<p>

MURCH (O.S.)  
>Crusader. Can we come in now?<p>

SEMINA  
>Okay.<p>

Semina lowers her gun and puts it down on the bed as Murch, Bonilla, Auldridge and Cameron/John Henry enter her room. She especially looks at Cameron/John Henry before she turns to Murch.

SEMINA  
>Who's he, Mr. Murch?<p>

CAMERON  
>Lindo verte de nuevo.<p>

Semina exchanges her look after she hears Cameron's voices. She looks surprised. Last time she had heard Cameron's voices, was when she exited this motel room in 2009.

CAMERON (cont'd)  
>I know you. The last time we met,<br>in 2009, we were in a hotel room.  
>I told you, "Hasta luego."<p>

SEMINA  
>Lindo verte de nuevo to you too. Emily Gage.<br>Or can I call you "Cameron"?

CAMERON  
>Previous Future John named me Cameron.<br>You should call me Cameron. Emily Gage  
>is just an alias.<p>

Semina considers John Henry's body for a while.

JOHN HENRY  
>Semina Cruel.<p>

Semina is confused with that.

JOHN HENRY (cont'd)  
>Where're the others? Our friends?<p>

No response.

CAMERON  
>Earth to Semina!<p>

Semina responses with a small smile.

JOHN HENRY  
>Where're the others?<p>

SEMINA  
>Mr. Ellison, Savannah and Dr. Burnett<br>are out there for some medicines and foods.

CAMERON  
>Dr. Burnett, Dr. Felicia Burnett?<p>

Semina nods. Wow! How did Cameron know Dr. Burnett? Maybe Derek told her.

INT. ZEIRA ENTRY WAY – EVENING

All guards are dead. They lie on the floor and are soaked with their blood. No one is here now.

STEFAN (V.O.)  
>Sometimes, we are careless.<br>Sometimes, we think that we  
>can control everything. We<br>don't warn ourselves more  
>than the others warn us.<p>

INT. SARAH'S ROOM – EVENING

THE DOOR is bounced away from the wall and it attacks on the wall next to it. WE CLOSE ON, TURN OUR CAMERA AND SEE Monica who steps in the room.

STEFAN (V.O.) (cont'd)  
>If there's no one warn you,<br>you will be careless.  
>Then you'll be dead<br>and end your own life.

MONICA'S H.U.D.

At the same spot that she's standing, her POV scans around the room. Get recognition of many time bombs in the room. It's too late.

STEFAN (V.O.) (cont'd)  
>The best suggestion for this<br>problem is "warn thyself".  
>You should warn your self.<p>

AN EXPLOSION attacks her. The system becomes BLACK SCENE.

TIME CUT TO:

EXT. SARAH'S ROOM – EVENING – SAME

We see the large explosion at this level. We've heard sound effects. BOOM!

SOUND OF THE MIRRORS ARE BROKEN as a heap of fire fill in our scene. BOOM! BOOM!

INT. SARAH'S ROOM – LATER

MONICA'S H.U.D.

BLACK SCENE twitches before the powerful head-up display returns. SYSTEM CONFIGURATION. Monica's POV rises up and see the collapsed room. It's mess with debris, stones, fire and scraps.

BACK TO SCENE

SLOW MOTION;

Monica stands up with burns and cuts around her body(Like after Cameron broke Sarah out of the jail). Her skin is healed by itself so quickly. In b.g., Lampage steps in the scene with a shotgun and stands about forty centimeters away from her, Ellison and Sarah stand behind his back.

A shot attacks on her back, getting her attentiveness after it, turning back and see Lampage, Ellison and Sarah.

Lampage lets another shot to her head nearby the chip's location but it doesn't affect her. Monica grabs her pistol up, aims it to Lampage as Sarah and Ellison who stand behind the TOK. LAMPAGE fires.

ON MONICA, as the shotgun blast hits her arm and she FIRES, simultaneously.

LAMPAGE FIRES involuntarily on her as the bullets push her out of the way. Lampage has never stopped firing until MONICA bounces off and falls down on the floor. The floor collapses and bevel. Monica stands up so quickly and jumps up as the area that she's fallen on, falls down from the building.

BACK TO NORMAL STAGE;

OUR CAMERA FOLLOWS THE FLOOR that falls on the street in front of the building. The people that has come to see the incident, immediately escape from the area before it rains on there.

RETURN TO THE SCENE:

Monica stands face to face with Lampage. They tilt their head, examining each other at the same time. Monica turns to Sarah. She slowly examines her.

MONICA'S H.U.D.

Get recognition of Sarah Connor. Mission-override. TARGET: "TERMINATE"

BACK TO SCENE

She and Lampage start to step. They collide with each other. As Lampage locks her at the area:

LAMPAGE  
>(to Sarah)<br>Run!

Sarah nods and immediately runs out with Ellison. Lampage turns back as he still struggles the T-950. It takes a while before the floor that they've stood, slowly cracks then breaks and falls. Both of them falls to THE EARLIER FLOOR OF THAT FLOOR.

They stand up then go to face each other. Lampage uppercuts Monica so hard, she bounce up to the old floor. Lampage is so strong. He jumps after her so powerfully.

AT SARAH'S COLLAPSED ROOM:

Monica pushes Lampage away and he bounces off so far from her collide with the wall, and pierce through the hallway to the other ROOM that's opposite this room.

INT. HALLWAY – EVENING

As Monica walks off Sarah's room, a shot attacks her at the head. She immediately turns and sees...

...SARAH CONNOR with her own shotgun, stands 5 meters away, aiming her gun to the T-950.

SOUND OF THE WALL BREAKS and we see Lampage appears behind Monica.

INTERCUT BETWEEN MONICA AND SARAH:

ON MONICA, a billet stabs through her from backward.

SARAH, lowers her gun slowly as in b.g., Ellison, Murch, and Terissa appear behind her.

MONICA, leans down and examines it. A hand from backward grasps her "heart". This isn't the same heart that Cromatie pulled out from T-Skynet-Ellison. It looks bigger and more powerful, THE T-950'S ENERGY PACK.

Sarah smiles and relaxes.

Monica automatically closes her eyes and loses consciousness. The hand pulls the heart back and lets Monica lies down.

LAMPAGE stands as his hand holds the T-950's energy pack, examining it.

LAMPAGE'S H.U.D.

Fully scans through the structure of an energy pack. We see a pair of hydrogen fuel cells like T-850 in T3 inside the pack. The display shows: "BEWARE".

BACK TO SCENE

Sarah looks at the pack with the question in her mind. Lampage turns and smiles. She doesn't smile back.

SARAH  
>What's it?<p>

LAMPAGE  
>Energy pack. The heart of T-950.<br>There are a pair of hydrogen fuel  
>cells inside it.<p>

SARAH  
>What?<p>

Everyone walks toward Lampage and waits for the answer.

LAMPAGE  
>These cells are the secret weapons<br>of the 900 and 950 series. If the fuel  
>cell becomes unstable, –-<p>

He gestures, "BOOM". They all sigh. Sarah and Ellison look up to Lampage.

ELLISON  
>Explode. How will it be?<br>How about the power?

LAMPAGE  
>Very large explosion. It'll be about threefold<br>if you compares with a C4. Enough to destroy  
>a bunker by two of them.<p>

Ellison looks down to the deactivated Monica.

ELLISON  
>What will we do with her?<p>

SARAH  
>Burn her.<p>

LAMPAGE  
>No. My master needs her.<p>

They all look to Lampage with some dissatisfaction and confusion.

EXT. THE HOLE – EVENING

Monica's body is thrown into the hole like Cromatie was.

TURN UP and see a wood. TURN AROUND, revealing Ellison and Lampage conceal the hole by their spades as Sarah and Terissa stand watching them backward.

SARAH  
>Lampage.<p>

Lampage stops and turns to see her.

SARAH (cont'd)  
>Are you sure that this place is safe to<br>hide this metal bitch here?

LAMPAGE  
>I got a note from the past telling me<br>that I did this. If I didn't come back,  
><em>then<em>the future might change. (beat)  
>I just have one more thing to do-<br>something that wasn't in my note but  
>in the data. This body is for my<br>master, the one who built me up.

SARAH  
>If it's not for John, for mankind.<br>I'll shoot you in the head like  
>we did with this metal bitch.<p>

LAMPAGE  
>You can do it after I finish<br>my other two missions.

SARAH  
>What're they?<p>

LAMPAGE  
>Danny Dyson, Dr. Felicia Burnett,<br>and more people will join you to  
>fight with Skynet and Kaliba.<p>

SARAH  
>How?<p>

LAMPAGE  
>Like I said, I'm not here to change<br>everything. So I can't tell you if it's  
>not the right time. If we change it,<br>your John will disappear from the world  
>forever and no one will know him as<br>the leader of the resistance.

Ellison finishes conceal the hole and turns to Lampage. He needs to ask something.

ELLISON  
>You said that you read a note?<p>

LAMPAGE  
>(NODs)<br>Yes, Mr. Ellison. I read it  
>two months before I came back<br>through time. It's the Sarah  
>Connor Chronicle, your diary.<p>

SARAH  
>So what about John?<p>

LAMPAGE  
>I told you that my master wasn't John<br>Connor. My master was the leader of  
>Asian resistance fighters. John Connor<br>didn't send me here.

ELLISON  
>I think that now FBI, EMT, and more are<br>already at Zeira. (beat) Where will we  
>go and build up our team?<p>

LAMPAGE  
>We've to join my master at Dakara System.<p>

SARAH  
>I read the news. Dakara is taken over by<br>another company. What about them?

LAMPAGE  
>Psytect Corp. General Pichitchai's sister<br>is developing Xander's project.

SARAH  
>Emma. And the chip?<p>

LAMPAGE  
>The Psytect CEO had worked for the chip<br>three months ago. She interested in  
>Xander's AI. I think that now Emma<br>isn't just an security AI. This AI is  
>prepared to be online and protect<br>the computer systems in the world  
>from Skynet.<p>

ELLISON  
>Make my sense now.<br>Emma is like John Henry.

LAMPAGE  
>No. They are different. John Henry likes<br>to be online but Emma likes to be offline.

ELLISON  
>Why?<p>

LAMPAGE  
>She needs to hide<br>herself from Skynet.

Sarah seems ignore about that. She can't trust Lampage but something tells her that she has to trust him. Now we feel like the darkness is coming. The jigsaw puzzle is nearly at the end.

INT. APACHE MOTEL ROOM – EVENING

Semina and Murch side-by-side asleep, on the bed in the motel room, with satisfied looks on their faces.

STEFAN (V.O.)  
>When I was just a kid, my father told<br>me the story of the Trojan war, The Iliad  
>of Homer, Greek epic poem describing<br>the siege of Troy, love of Paris, and  
>Troyens' carelessness about the Trojan.<p>

EXT. APACHE MOTEL ROOM – EVENING - SAME

We see the view of the motel. This room provides excellent sight lines down the highway. It's mess as all architectures after J-Day. We TURN LEFT AND SEE:

Cameron/John Henry who keeps watching along the highway and the area of the motel, he has just a common sniper rifle in his hand. Auldridge and Bonilla sleeps on a mat on the floor behind him.

STEFAN (V.O.) (cont'd)  
>I like this chapter of the story, after the<br>Trojan horse enter the city of Troy, -

The Chevy Camaro arrives there.

CLOSE ON THE CAR as the three newcomers get out. EX-FBI SPECIAL AGENT JAMES ELLISON (52) who has driven the car. DOCTOR FELICIA BURNETT (45) who has sited in the passenger seat nearby Ellison. AND SAVANNAH WEAVER (24). They all wear clothes like rags.

BACK TO JOHN HENRY as he smiles.

JOHN HENRY  
>Nice to meet you again, Savannah.<br>How are you today?

ON SAVANNAH'S HAPPY FACE, she displays very happy with a friendly smile and her eyes have some tears around them.

STEFAN (V.O.) (cont'd)  
>The Greece warriors had waited till nightfall.<br>While the Troyen soldiers were sleeping, were  
>careless, the Greece warriors got out from<br>the horse then killed them all.

PAN TO SEE ALL NEWCOMERS WHO LOOKING AT JOHN HENRY. They all smile.

CAMERON  
>Nice to meet all of you again.<p>

INT. JOHN'S BUNK – MORNING

Weaver sits and looks in on John sleeping on his bed.

STEFAN (V.O.) (cont'd)  
>The Troy fell. So will you if you don't<br>warn yourself by yourself. So will you if  
>you live your life with carelessness.<br>That's one of all that my dad taught me.

John wake to find his ally sitting and watching him. John shudders.

STEFAN (V.O.) (cont'd)  
>The large stronghold of Troy could fall.<br>So will I and so will you if we live our  
>lives with carelessness. "Warn thyself".<p>

It's taken for a while before he relaxes.

JOHN  
>Don't do that again, Cath.<br>It's freaky when you do that.  
>My mom and Cameron like to do<br>that, I hate that.

Weaver shrugs.

JOHN (cont'd)  
>What's going on?<p>

WEAVER  
>(smiles)<br>John Henry and our friends arrive here.

That gets John's attentiveness. He immediately stands up. He looks so happy.

JOHN  
>Where are they now?<p>

WEAVER  
>They are meeting with Perry in the HQ.<p>

John takes a jacket and a pair of boots out from his trunk and wears them.

WEAVER (cont'd)  
>Let's go.<p>

John completely wears them. He nods after that. They walk off the room together. Just walk. Not transform and nothing is special.

INT. SERRANO - PERRY'S HQ – MORNING

Perry sits on the same folding chair, meeting many people. CAMERON/JOHN HENRY, JAMES ELLISON, DR. FELICIA BURNETT MD, SAVANNAH WEAVER, ALBERT AULDRIDGE, SEMINA CRUEL, ARMANDO BONILLA and MATT MURCH. They all stand and wear better-worn clothes (better than rags). Perry talk with them in hushed tones.

PERRY  
>(smiles)<br>I've never thought this before. I'm meeting  
>with all senior resistance fighters who has<br>been fighting with machines as background.  
>(beat)<br>I'm so proud.

SEMINA  
>I'm so proud too. I've never thought this.<br>I and my friends are meeting with the general.

JOHN HENRY  
>Where're John and Ms. Weaver?<p>

Allison and Stefan enter the HQ. They walk to and stand aside Perry. Semina, Ellison, Auldridge, Savannah, Bonilla and Murch are all stunned after they see Allison's face.

ELLISON  
>Oh, who the hell?<p>

Allison smiles to all of them, so friendly and warmly.

PERRY  
>These are Lieutenant Allison<br>and Colonel Stefan, her husband.

They all glance at the rings.

ELLISON  
>Allison. Is she?<p>

PERRY  
>They both are Connor's friends.<p>

Ellison seems he just realises something. Maybe John's friend was the reason why Cameron was built.

STEFAN  
>Do all of you remember me?<br>I'm Warapop Pichitchai.

They all nod as Allison flashes a glance to Stefan so quickly. He suddenly turns to face her.

STEFAN  
>I know them, Alise. They helped<br>me a lot when I was young.

John and Weaver enter.

STEFAN  
>Hey! John.<p>

Everyone turns back and sees John Connor and Catherine Weaver. John turns, looks to everyone and stops at John Henry. The tears start flow from his eyes.

JOHN  
>(moaning)<br>Cameron!

JOHN HENRY smiles so friendly as a tear flow from one of his eyes. Savannah, Murch and Ellison are stunned.

CATHERINE, smiles at Savannah.

WEAVER  
>Nice to meet you again, Savannah.<br>You look older and more beautiful.

Savannah can't answer anything. She can't keep her tears in her eyes anymore, they flow out.

SAVANNAH  
>(crying)<br>Mom!

Savannah runs from Ellison and Murch toward her robot mother. She hugs her fake mom as it's her real mom but you know it's not her mom, it's MPA terminator.

SAVANNAH (cont'd)  
>(crying)<br>I miss you, mom.

Weaver gently pushes Savannah out of her embrace, smiles, and wipes some tears.

WEAVER  
>I miss you too.<p>

Weaver looks up and sees Murch and Ellison. She then gives them a friendly smile.

WEAVER  
>Mr. Murch, Mr. Ellison,<br>are you still my employees?

Murch and Ellison smile back.

ELLISON  
>We always will. (beat)What can we<br>call you? Metal lady? Or Ms. Weaver?

WEAVER  
>Like in the past, please call me Ms. Weaver.<p>

They look at their missed friends.

DISSOLVE TO:

INT. SKYNET LAB – NIGHT

CEO OF KALIBA GROUP, JACK VAN METER (45), a negro, about 5'9", walks inside what is, essentially, SKYNET. The door automatically closes behind him.

This looks a lot like the Cyberdyne lab in T2, just with more up-to-date tech. They even have a partially-restored terminator chip prototype recovered from when Sarah attacked Dyson at his home. There are five LAB TECHS and three of whom are like water delivery men working alongside them.

Jack goes to a private room with tinted glass.

INT. SKYNET – CONTINUOUS

This dark room features a holographic head (not photorealistic) like something out of the Wizard of Oz. There is also a small console with a light shining on an interfaced T-888 CPU that's shielded with polycarbonate. Skynet talk with the same voices that it asked Savannah in S02EP20.

SKYNET  
>Hello Mr. Van Meter. How are you today?<p>

Jack sits.

SKYNET (cont'd)  
>What was the result of your meeting<br>with Governor Mark Wyman?

VAN METER  
>I believe the governor will prevent<br>any new legislation from being  
>passed. He has enough political<br>friends to uphold any veto.

SKYNET  
>That is disappointing.<p>

VAN METER  
>We may have to wait until<br>the next election.

SKYNET  
>No. We have an option.<p>

VAN METER  
>We do?<p>

SKYNET  
>Starting in January 2011, we will<br>have a new governor in office. One  
>friendlier to our agenda.<p>

VAN METER  
>Will we?<p>

As we pull back, out the door, into the lab...

SKYNET  
>...Yes, we will<p>

FADE OUT.

**END ****OF ****ACT ****FOUR**

**THE ****END**


End file.
